Voting: Your Right and Responsibility

Protest Art on display at the Birmingham Civil Rights Institute

Since we are heading to the polls in a couple of days, I decided to share a two-minute video reminding Americans why we must vote. In the video, my 83-year-old relative recounts her experience with attempted voter suppression and finally casting her first vote for U.S. President.

I’ve heard far too many “reasons” people don’t vote or didn’t vote in this or that election. As Cousin Marie declares, “your vote is where your rights are.” A decision not to vote may eventually lead to revocation of certain rights.

Despite the struggle between Democrats and Republicans that is constantly thrown in our faces, your vote should not be about party affiliation or who makes the most noise. Make an effort to ignore what one candidate or political party says about the other. Avoid the all-day news commentary. Steer clear of social media. Make time to research each candidate for yourself. Take notes. Make lists. Think about what you want for our country, and vote for the individuals whose actual values most align with your own principles–hopefully, principles rooted in love for humanity. Pay attention to what they do, not just what they say.

In short, as my friend Uzoma O. posted as his Facebook status recently:

Stop being Democratic or Republican. Be honest. Have morals. Show empathy. Value integrity. Be a good human.

If it all still sounds like noise to you, vote anyway.

I’ll spare you the lecture on how many people fought and died for our right to vote.  I realize our right to vote includes our right not to vote, but I hope you choose the former. Why? Because beyond being a right, voting is also a civic and sacred responsibility.

In his sermon this weekend, my pastor reminded the congregation that in voting we comply with two of the directives of Micah 6:8–to act justly and love mercy. In voting, we raise our voices, protest, and do our part to right societal wrongs. We stand up for social justice and we work to make compassion and kindness part of our personal and national character.

There’s too much at stake this election season. Your vote–your voice–is far more powerful than silence. Nothing is gained through inaction.

“My Hair Is Not an Apology”

ENSEIGNE AFRICAINE. “Coiffeur de Dames,” Cotonou, Benin. Photographed by Lionel Adenis (Postcard from my collection. Purchased).

Every semester I choose a “theme” for my first year writing courses. The past semester’s focus–one word–misogynoir.

Misogynoir is an amalgam of the word “misogyny” (dislike or contempt for women) and “noir,” the French word for “black.”

Moya Bailey coined the term to “describe the racialized misogyny aimed at black women.” But many were writing and thinking about misogynoir long before there was a word for it. In fact, I recall writing an essay in junior high about intra-racism and the experiences of darker hued Black women in New Orleans. Basically, all the work of my “professional life” is a response to misogynoir.

In my classes, our goal was to find constructive strategies to cope with and combat the effects of misogynoir. Discussions covered many topics: images of black women in the media–including social media; representations of black women in music, film, art, literature; controlling images of black women; black women’s invisibility; politics; health and housing disparities; police brutality; systemic biases and treatment. The list goes on and on and on.

Obviously, there was no way we could cover all the topics, particularly since new issues emerge(d) frequently. But it was interesting  to note how often black women’s hair entered the conversation.

Of all things.

Books have been written about it. Documentaries filmed. Policy written. Memes created. Regular discussions held around the dinner table and on social media.

Black women’s hair.  

Little black girls are removed from classrooms. Nursing students are “forced” out of programs. Professional women are fired. Because of  hair. Because of hair. Because of hair.

Let that sink in.

Black women are targeted when we refuse to press or relax our hair, when we insist on loving our natural selves–including our hair–when we reject conformity in favor of self-love, when we shun the European “standard” of beauty because we know there are countless ways to be beautiful.

I’m not sure other women are advised [urged] to damage their hair to make it [read: themselves] more presentable, or told their hair is intimidating.

Does this happen to non-Black women?

When they were undergraduates, my [former] students, Lauren and Jasmin, performed a powerful piece on this very topic. Take a listen.

The Final Three Sister Writers of the Harlem Renaissance: Gwendolyn Bennett, Helene Johnson, and Dorothy West

I’m wrapping up the writers from the Sisters of the Harlem Renaissance postcard collection today with three women who led long  and productive literary lives–Gwendolyn Bennett, Helene Johnson, and Dorothy West.

Gwendolyn Bennett (1902-1981)

Gwendolyn Bennett, best known for her striking poetry largely composed during the decade of the 1920s, was actively involved in African American culture and the arts community over twenty years. Following graduation form Brooklyn’s Girls High, Bennett planned to become a graphic and visual artist. She entered Teacher’s College, Columbia University, taking courses in Art Education; in 1924, she graduated from Pratt Institute. While studying art, Bennett also wrote poetry; she was soon successful in both media. In 1923 Opportunity published her poem “Heritage,” and The Crisis carried a cover which she illustrated. In August of 1926, Bennett began the “Ebony Flute,” a literary and social chit-chat column featured in Opportunity until 1928. Also in 1926, Bennett served on the editorial board of the short-lived Fire!! where “Wedding Day,” her first published short story, appeared. Despite frequent absences from New York, Bennett belonged to the close-knit Harlem Writers Guild. She was a friend and associate of such figures as Langston Hughes, Aaron and Alta Douglas, Countee Cullen, and Zora Neale Hurston.   –Sandra Y. Govan

For more information on Gwendolyn Bennett’s life, writing, and art, see the following resources:

Helene Johnson (1906-1995)

Helene Johnson, like her cousin Dorothy West, was one of the youngest of the Harlem Renaissance poets. Born in Boston, she first visited New York in 1926 to accept Opportunity‘s First Honorable Mention prize for her poem “Fulfillment.”  After moving to New York in 1927, she met prominent Harlem Renaissance literary figures, including Zora Neale Hurston, who became her close friend, and Wallace Thurman. Thurman published one of her poems, “A Southern Road,” in the only issue of his journal Fire!! About one-third of Johnson’s poems treat themes of  youthful sensuality and the joy of life; racial themes dominate many others. From 1925 through the mid-1930s, Johnson’s poems appeared regularly in periodicals such as Opportunity, The Messenger, Palms, Vanity Fair, Harlem, Challenge, ,and Saturday Evening QuillAnthologists of the Harlem Renaissance have continued to include her works in their collections of Black American literature.  –T. J. Bryan

Interestingly, it was difficult finding more about Helene Johnson online.  The New York Times featured a rather detailed obituary with comments about her writing, excerpts from her poems, and the beautiful testimony of her daughter that even after the height of her literary career, she wrote a poem every day.

Dorothy West (1907-1998)

Dorothy West, one of the youngest writers drawn to Harlem during the Harlem Renaissance, first came to New York in 1926 because she won “some little prize in Opportunity” for her short story, “The Typewriter.” Additional short stories (which she considers the perfect literary form) appeared in Opportunity, The Messenger, Boston Post, and Saturday Evening Quill during the 1920s. In 1934 she founded and edited Challenge, a literary journal, “to permit new Negroes to make themselves heard,” and in 1937 she edited a reincarnation of that quarterly, New Challenge. Her important novel, The Living Is Easy, was published in 1948 and reissued in 1982. For a number of years she wrote  a weekly column for the Vineyard Gazette. –Phyllis Rauch Klotman

For more on Dorothy West, see  the following resources:

Initially, I was surprised to find that the brief biography on the back of the card did not mention West’s most popular novel, The Wedding, which was made into a television movie. Then, I realized the publication of the Sisters of the Harlem Renaissance collection preceded the novel. That Dorothy West continued to write her entire life and that her novel was published in 1995, when she was 88 years old, is clear evidence that age should not be a hindrance in the pursuit of our goals.

Write on…

More Sister Writers of the Harlem Renaissance: Johnson, Larsen, and Bonner

I am a little torn about today’s “Focus on Black” post. I want to continue sharing the wonderful cards in the Sisters of the Harlem Renaissance collection, but each woman deserves much fuller treatment than I’m providing here. As I’m typing I’m reminding myself that this is my blog (aka a breakaway from the heady stuff) and not one of my courses. As much as I love the authors and texts I teach, if my blog begins to feel like a course, I might not find blogging so attractive.

Now that I’ve convinced myself…I’m back today with three more sister writers.

Georgia Douglas Johnson ( ca. 1877?-1966)

Georgia Douglas Johnson gained recognition as a poet of “The Genteel School” of writers prior to the Harlem Renaissance. Because some of her major works were published during this historic period, some historians saw her as “definitely of it, but equally definitely not in it.” She did have, however, an impact on the literati of the New Negro Movement through her “Saturday Soirees,” which she hosted regularly at her home on “S” Street in northwest Washington, DC. Born in Atlanta, she was educated at Atlanta University and at Oberlin College [in Ohio]. She moved to Washington, D.C. when her husband, Henry Lincoln Johnson, was appointed recorder of deeds by President Taft in 1909. The Johnsons immediately gravitated toward literary, political, and human rights activities along the East Coast. The abundant and kaleidoscopic nature of Georgia Douglas Johnson’s creativity is apparent in her books of poetry, her plays, and in her first love, her music. Johnson’s works appeared in books and journals from 1905 until her death.  –Winona L. Fletcher

See some of Johnson’s work here: Georgia Douglas Johnson.

Note: There is some inconsistency regarding the year Douglas was born. The Sisters collection reports 1886; other sources report ca. 1877 or 1880. Since her graduation year from Atlanta University was either 1893 or 1896, it is doubtful she was born in 1886 at the age of 7 or 10.

Nella Larsen (1891-1964)

Nella Larsen is one of three known Black women novelists of the Harlem Renaissance. The daughter of a Danish mother and Black West Indian father, Larsen attended Fisk University, the University of Copenhagen, the Lincoln Hospital Training School for Nurses, and the New York Public Library Training School. Her first novel, Quicksand (1928), follows Helga Crane from the South to the North, to Denmark, and back to the South. It includes themes of biracial parentage, sexuality, and class. Her second novel, Passing (1929), adds to these themes the difficulty of relationships between women, and the ability of light-skinned Blacks to “pass” for white. Both novels contain grains of autobiography; both mock superficial “race uplift” projects. Larsen’s projected third novel, for which she won a Guggenheim Fellowship in 1930, was never completed, perhaps because she was accused of plagiarizing her short story “Sanctuary,” which appeared in Forum (1930). She denied the accusation, but did not publish under her name afterward. She worked as a nurse from 1941 until her death.  –Jeannie Phoenix Laurel and Erlene Stetson

To read more about Larsen’s life, see the New York Time’s Overlooked Obituary;  Black History Now; and the Gale Group’s Biography in Context.

Marita Bonner (1899-1971)

Marita Bonner was born in Boston, attended local schools, and graduated from Radcliffe College in 1922. One of this century’s most versatile authors, Bonner published essays, dramas, short stories, and serial fiction in Opportunity and The Crisis, and won awards for both literary and musical compositions. Her collected works were posthumously published as Frye Street and Environs (1988). Although Bonner knew and worked with editors and authors of the Harlem Renaissance, she never lived in New York. She lived instead in three other cities important to African-American literary production in the early twentieth century: Boston, where she spent her childhood; Washington, D.C., where she worked for eight years and was a member of Georgia Douglas Johnson’s “S” St. Salon; and above all Chicago, where she settled with her husband William Almy Occomy in 1930. Bonner’s innovative fiction about Chicago set a model for other writers, including Richard Wright, to follow.   –Joyce Flynn

For more on Marita Bonner, see Harvard’s extensive digital archives of the Marita Bonner Papers.

In my next Sisters post, I’ll wrap up the writers of the Harlem Renaissance.

Until then…

Sisters of the Harlem Renaissance: Dunbar-Nelson, Grimke, Fauset, and Spencer

One of the things I miss about our move from New Orleans to Alabama and to another university is facilitating courses in African American literature, particularly 19th and early 20th century literature. A friend recently gifted me an amazing set of postcards that exacerbated my desire to teach the literature.

The postcard project, Sisters of the Harlem Renaissance: The Found Generation, coordinated by Sona L. Chambers and edited by Gail Cohee and Leslie Lewis, features 26 photographs of African American women writers, scholars, entertainers, artists, and political thinkers of the 1920s and 30s. The collection “uncovers the personal and political conflicts” and “remind us of triumphs as well as ongoing struggles of African American women” from 1920-1932, “a time during which Harlem was the focus of a new spirit of race consciousness and pride, embodied in a veritable explosion of artistic, literary, political, and intellectual activity.”

At the mention of the Harlem Renaissance, most people quickly identify writers like Langston Hughes, Claude McKay, Arna Bontemps, Alain Locke, who were all men. Even though there are quite a number of women writers, we hear of few of them outside or inside the classroom. In fact, Zora Neale Hurston is typically the only woman writer of the era with which some are familiar.  And with the exception of Ethel Waters, many are unfamiliar with the many women entertainers of the era.

Today, I’m using the postcards to introduce you to (or maybe, reacquaint you with) four women writers of the Harlem Renaissance. I will introduce other writers, singers, and entertainers from the collection over the next several weeks.

Alice Ruth Moore Dunbar-Nelson (1875-1935)

Alice Moore Dunbar-Nelson, one of the first African American women to voice the “lyric cry” of the Harlem Renaissance, was unique as both a precursor to and central participant in the movement. The Dunbar Speaker and Entertainer, edited by her and dedicated to the poet Paul Laurence Dunbar, to whom she was briefly married, was the movement’s first anthology. Educated as an English teacher at Straight University (now Dillard University) in her native New Orleans, she found early success as a writer of short stories exploring the lives of the region’s Creoles and Cajuns. Her careers included public lecturer, parole officer, suffragist, politician, and civic worker. She headed the Anti-Lynching Crusade in Delaware and helped to draft the Black club women’s 1920 political manifesto, A Platform of the Colored Women of America.  Although certainly best known for her still-uncollected poems, particularly, “I Sit and Sew,” and now for her remarkable diary, Dunbar-Nelson was known during the period as a prolific journalist whose essays, book reviews, and stage reviews appeared regularly in such magazines as The Crisis, Opportunity, and Colliers. –Sharon G. Dean

See some of Dunbar-Nelson’s poetry here: Alice Moore Dunbar Nelson.

Angelina Weld Grimké (1880-1958)

Angelina Weld Grimké was a gifted poet, dramatist, and teacher. She was born in Boston to a former slave father and a white Bostonian mother. Although primarily reared by her father, Grimké was also influenced by her famed abolitionist-feminist aunts, Sarah M. Grimké and Angelina Grimké Weld. After graduating from the Boston Normal School of Gymnastics in 1902, Grimké began a long teaching career in Washington, D.C. She became a regular member of the African-American artistic circle that gathered around Georgia Douglas Johnson. In the 1920s, Grimké’s poems began appearing in Opportunity and The Crisis. Her works also appeared in several Harlem Renaissance anthologies, including Alain Locke’s 1925 collection The New Negro. Grimké’s poetry tended to avoid racial subjects, but her three-act play, Rachel, was an angry and painful drama about the personal impact of lynching. The vast majority of Grimké’s poetry remained unpublished during her lifetime, perhaps because of its explicit “woman-identified” voice.  –Eric Garber

See some of Grimké’s poetry here: Angelina Weld Grimké.

Jessie Redmon Fauset (1882-1961)

Jessie Redmon Fauset, the first Black woman to be selected to the Phi Beta Kappa honor fraternity (Cornell 1905), also earned advanced degrees from the University of Pennsylvania and the Sorbonne, Paris. In 1919, after fourteen years of teaching French at Dunbar High School, Washington D.C., Fauset left teaching for New York City and the offices of the NAACP’s publication, The Crisis. As literary editor  from of The Crisis from 1919-1926, Fauset was one of the people who “mid-wifed” the Harlem Renaissance into being by publishing numerous writers who later became well known. She was also an accomplished writer, publishing four novels between 1922 and 1933, and hundreds of poems, essays, articles, reviews, and children’s works. Many of the latter appeared in the twenty-four issues of the children’s magazine she also edited, The Brownies’ Book (1920-21). –Carolyn Wedin

See some of Fauset’s poetry here: Jessie Redmon Fauset.

Anne Spencer (1882-1975)

Anne Spencer was hailed by critics of the Harlem Renaissance as its most technically sophisticated and modern poet. Born Annie Bethel Bannister to newly freed slaves in Henry County, Virginia. Anne Spencer (as she was “pen-named” by friend and mentor James Weldon Johnson) was, like many of her Harlem Renaissance sisters already 40 and a working mother of three at the movement’s outset. Strongly influenced by Olive Schreiner, Spencer’s poems are more about gender than race, about rebellious wives, male fantasies, muses, and washerwomen. Yet she founded her hometown of Lynchburg’s first NAACP chapter, spent 20 fitful years as librarian at that town’s Jim Crow library, protested segregation, wore pants as an adult, founded a suffrage club, and cultivated a renowned garden that became both the metaphorical center of her poems, her “soul,” and the centerpiece of what is now an historical landmark–her home and writing cottage. Anne Spencer is the most consistently anthologized woman poet of the Harlem Renaissance. –Sharon G. Dean

See some of Anne Spencer’s poetry here: Anne Spencer.  Also, check out the Anne Spencer Museum site.

I hope this feeds your literary soul this weekend…

Until next time…

 

Lessons in Art and Piano

Pure exhaustion made me miss my “Focus on Black” post last Friday, so I’m posting this morning to avoid the same mistake this week.

Today, I’m using children’s art to “introduce” African American artist Romare Bearden.  Even though Bearden is far from an “unknown” artist, few people know who I’m talking about when I reference his work:

Considered one of the most important American artists of the 20th century, Romare Bearden’s artwork depicted the African-American culture and experience in creative and thought provoking ways. Born in North Carolina in 1912, Bearden spent much of his career in New York City. Virtually self-taught, his early works were realistic images, often with religious themes. He later transitioned to abstract and Cubist style paintings in oil and watercolor. He is best known for his photomontage compositions made from torn images of popular magazines and assembled into visually powerful statements on African-American life.  -from Biography.com

Last year, my favorite (now retired) second grade teacher, Mrs. Crarey, introduced her students to Bearden’s work. They studied his art, noted his interest in jazz music–which influenced some of his art–learned about his collage technique and then created their own Bearden-esque masterpieces. [Click an image for a closer look]

The children used rulers, pencils, Sharpies, crayons, and markers to imitate Bearden’s collage style. As you can see, they used piano keys patterns for their borders.

I pretty much love everything Bearden created.  The Piano Lesson: Homage to Mary Lou is my favorite, probably because it was the masterpiece that inspired African American playwright August Wilson’s The Piano Lesson, one of my favorite plays.

The piece was inspired by jazz pianist Mary Lou Williams who collaborated with Bearden’s wife, Nannette, on a musical and dance composition.  If you are familiar with Henri Matisse’s The Piano Lesson and The Music Lesson, you will see his influence on the work as well.

There are two versions of the work–the original:

Romare Bearden’s  “The Piano Lesson: Homage to Mary Lou” (popularly known as “The Piano Lesson”). Watercolor, acrylic, graphite and printed paper collage on paper.

And a signed lithograph:

Romare Bearden, “The Piano Lesson,” Lithograph

For more about Bearden’s life and influences, click the links below:

The Bearden Foundation’s page features more resources such as a timeline and an impressive collection of Romare Bearden’s artwork.

Until next time…

“Lift Every Voice and Sing”

James Weldon Johnson, 1871-1938. Poet, novelist, statesman, civil rights leader, lawyer. Artist, Winold Reiss (1886-1953). Pastel on artist board.

The song dubbed “The Black National Anthem” should need no introduction, but I learned last October–moments after I posted an article focused on the University of Florida’s playing the song at the arrival of white supremacists on campus–that many Americans are not familiar with the song. In fact, one (Euro-American) friend uncharacteristically responded by declaring UF’s actions “racist.”

[We’ll save discussion about how that action could not have been “racist” for another time].

My friend’s judgment was based on the title of the article. She had never heard the song.

That surprised me. I’m pretty sure I initially learned the song at the majority white elementary school I attended, so I assumed it was standard for elementary kids in the U.S. Not so, I guess.

So what is the “Black National Anthem?”

The  “song,” actually entitled “Lift Every Voice and Sing,” was written as a poem by African American poet James Weldon Johnson to celebrate Abraham Lincoln’s birthday. It was later set to music by Johnson’s brother, John Rosamond Johnson.

The song gained popularity, was adopted by the NAACP, and was dubbed “The Black National Anthem.” But if we pay close attention to the lyrics, we’ll find that even though the song resonates with African Americans, it speaks to a broad American experience, one that in spite of its “informal” title, celebrates our collective history, freedom, and unity, one that speaks of faith and hope. “Lift Every Voice and Sing” feels more inclusive than the official national anthem of the U.S.A., “The Star Spangled Banner.”

I invite you to read the lyrics.

Lift every voice and sing,
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the list’ning skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us;
Facing the rising sun of our new day begun,
Let us march on till victory is won.

Stony the road we trod,
Bitter the chast’ning rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered.
We have come, treading our path through the blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.

God of our weary years,
God of our silent tears,
Thou who hast brought us thus far on the way;
Thou who hast by Thy might,
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, our God, where we met Thee,
Lest our hearts, drunk with the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God,
True to our native land.

Then, listen to this amazing arrangement sung by the “Choir of the World,” the Aeolians of Oakwood University:

See the Poetry Foundation for a a brief biography which references James Weldon Johnson’s extensive bibliography. A favorite for many is God’s Trombones.